text:
"Working late again tonight, Professor Danton?"
He turns away from the agitating illumination and locks the laboratory door, hoping the night watchman isn't in a talkative mood. His frame of mind of late cannot tolerate useless chatter. Especially after a long day at the university.
"Still making up for lost time, Frank."
This simple answer, as the professor quickly discovered, extinguishes prolonged conversation. People generally become mute when faced with an uncomfortable topic. Frank, the night watchman, is no exception, waving him off with a 'good-night' and a sympathetic look.
Once home, the professor visits his private bath to wash his hands, not for the first time today. His soap-lathered fingers rinse clean, but that does not stop him from another scrubbing. While drying, he stares deeply into the mirror, the signs of sleep deprivation heavy on his countenance. Even with such a reflection facing him, he convinces himself, once again, that he is doing the right thing.
In the candlelit dining room, at the end of the long table, he finds his wife waiting for him. No matter the hour, she has supper ready and waiting, as if nothing is wrong, as if tragedy never occurred. The painful irony of this behavior is it emphasizes the tragedy and how wrong it made everything.
"You mustn't keep waiting up for me, Elizabeth."
"We are still a family, Victor, and families dine together."
Her sweet voice, so beautifully certain and sadly faded, grasps his heart, daring him to confess all. As much as he longs to tell his beloved wife the truth behind his long hours, he cannot. Not yet, but his encounter with Frank and now Elizabeth's fragile state convinces Victor that sooner will be better. Unfolding his napkin, he glances at the empty place setting situated halfway between them and makes a decision.
Victor Danton walks cautiously among the dimly-lit hallways, leading a shadowed figure hunched over and wrapped in an overcoat. Not since the first day he brought him here have the hallways of the university felt so endless and treacherous to him. His dark eyes are alert for the slightest movement, his sharp ears listening for the faintest sound.
The apparent emptiness of the area could lull him into a false sense of security. He could allow his mind to wander. Wander to his wife sitting alone at their long dining room table. Her dark brown hair loosely swept back, her gentle face full of beauty and sadness, waiting for him to arrive home. Unsuspecting of his nightly activities, for it is not how her innocent mind works. Elizabeth Danton is a trusting soul and he has never given her a reason to distrust him, until recently.
A startling illumination stops him so near the exit that he can nearly touch the door, "Professor Danton?"
"Good Evening, Frank."
"Evening, Professor. Is everything all right here?"
"Everything is fine, Frank. I am assisting this student back to his dormitory." Victor, sensing the night watchman's doubt, leans forward and whispers, "Intoxicated."
Frank seems to be weighing the situation for an eternity before finally replying. "I bet it is girl trouble. You remember how it was at that age."
"Completely," Victor lies. Dusty books and intense studying filled his university days. Elizabeth was thankfully a persistent woman, slowly becoming fully ingrained in his mind and heart.
"Well, better get him to his room before he's dead to the world. Need any help, Professor?"
"Thank you, Frank, but I can manage."
Victor falls into silence until they are immersed in the safety of night, leaving behind the science building and Frank's inquiring light. Then, with only the sound of their mingled footsteps and the thudding of his own anxious heart in his ears, he leans close to the hunched figure. "We shall be home soon, Henry."
He stands in the cusp of the dining room, silently watching her candlelit stillness. She is waiting for him, endlessly patient and understanding, seemingly lost and lonely. This gives him hope that he has chosen the right course of action. That now is the time to repair the jagged emotional wound from which both are suffering.
"Elizabeth, I am home."
"Victor, you are later than usual."
There is no malice or accusation in her voice, just her innate sweetness and more than a hint of relief for his presence. He fully enters the dining room, taking note of the empty place setting that has been two months unused. Two months of silence regarding its emotional meaning, its physical implication, building up to this moment.
"Why do you stand there, Victor, wavering so?"
Unaware that he had been lost in thought, he stumbles back into the present situation. "I brought someone home to dine with us this evening, Elizabeth."
"Oh?" While her tone implies questioning, he can see her countenance lighten at the thought. "Let us not continue our rudeness, Victor. Please invite our guest in."
He nods in agreement, turns to the darkened adjacent room and motions for the guest to enter. Their waking nightmare, their sleepless nights, and all of his furtive comings and goings culminate into this singular moment. A moment that all involved will remember for as long as life permits.
From the shadows a young man of approximately 18 years of age emerges. No longer hunched over or concealed in an overcoat, he stands tall but walks somewhat unsteadily. His dark brown hair, once full and long, has been cut short out of necessity, revealing a disturbingly large scar across his forehead.
Victor's anxiously hopeful eyes flicker between the young man and his wife. Elizabeth had stood immediately upon realization of their mysterious guest, with comprehension slowly dawning. The wretched past flashes in her expressive eyes and Victor sees it all along with her.
How they waited until supper was cold, wondering where on earth Henry could be. How they initially engaged in light musings, imagining a romantic rendezvous, maybe even a secret elopement. How their world collapsed into a frozen moment of indescribable pain when the local constable arrived at the door with news of their son's death. How Henry had been out riding with friends and for an unknown reason his horse bucked, throwing him off, trampling him until...
"This cannot be," she whispers to her husband, not taking her eyes off the young man.
"Oh, but it can, Elizabeth, due to old knowledge combined with modern science," Victor explains in a matching whisper, watching his wife stepping away from the solidity of the dining room table.
Elizabeth draws closer, fully examining the features so like her deceased son's. There is his sturdy, kind face accentuated with full red lips, and punctuated by impossibly deep brown eyes. She reaches out with one hand, as if to touch the possibility before her, but draws back, uncertainty in her eyes.
"Henry?"
The scarred man looks at Victor, as if seeking permission or assurance. Victor gives him a silent nod, urging this moment, this reunion, forward.
"Mother."
Her uncertainty vanishes upon the deep vocal resonance and she engulfs the son she believed lost forever. Tears overflowing, she whispers sweet maternal promises of never letting him depart again. Henry initially doesn't respond to this physical and emotional outpouring, only standing with arms rigid at his sides. Soon, perhaps overwhelmed by his mother's love, he slowly reaches around her immovable frame and embraces in return, as tears begin sliding down his cheeks.
It takes all of Victor's strength to resist the urge to weep as his expectations are met and exceeded. The days and weeks of repairing, reanimating, and reeducating his beloved son, hiding him away in a disused cellar at the university, have finally come to fruition. Thus, removing all doubt and concern over the moral and ethical ramifications of such an endeavor. He breathes easier, relishing his success in returning life, not only to Henry, but to himself and Elizabeth, as well. They will be a family once more.
A sudden and loud crack jolts Victor from his joyous thoughts. He watches Elizabeth's limp figure slide from their son's strong arms, cascading into a lifeless heap upon the floor. For a moment he cannot comprehend the horror he has just witnessed, but soon it makes itself abundantly clear and he finds himself on his knees, holding Elizabeth, calling her name to deaf ears.
"Father, why has Mother stopped moving?"
Victor does not hear Henry's deep voice, asking in such an innocent tone. All he hears is the thudding of his breaking heart and his own voice beginning to mumble over and over, "What have you done?"
"What has happened to Mother?"
This time his son's voice, accompanied by a firm hand on Victor's shoulder, reaches him, causing a violent spasm throughout his being. Leaving his dead wife upon the floor, he stands and lunges at his son...his creation...with all the brute force he can muster. While his fists pound, his mind screams that his actions, no matter how noble, were wrong, and so produced an abomination.
As his fists are restrained, Victor continues to attack, using his body and legs against what he now sees as a monster before him. Abruptly, as if weightless, he is hurtling backwards through the air, striking his head upon the dining room table before crumpling onto the floor. Continuing to breathe, he opens his eyes to a hazy shadow leaning over him, speaking in a pitiful tone.
"I'm sorry, Father, I'm sorry."
"What have I done?" Victor barely chokes out, as he becomes faintly aware of a warm dampness pooling around him and the smell of smoke from an overturned candle. The hazy shadow moves away with fading, unsteady footsteps, while a raging inferno explodes around him, filling his dying eyes with hellish light.
Story and photo: May/June 2014
With a posthumous thank you to Mary Shelley.
In case you missed it, here is a link to a possibly connected piece of supernatural fiction... A Grave Situation
Be well and Freak Out,
Posted by John L. Harmon at 4:25 PM
DARKENING STURGEONS (the complete blog serial)


That's right, AEPi now has a chapter in the land down under.
With 75 in attendance, the Omega Zeta Alpha chapter of AEPi received an official charter on Saturday, May 5 from AEPi's executive director Andy Borans.
AEPi colonies strive toward the goal of receiving an official charter. Organized in 2016, this 42 man group is no exception.
"They really surprised us. It can be a little daunting opening up on the other side of the world but their founding leadership was exceptional. It's hard to imagine that a group which has never seen what fraternity life is like in the US can so well encapsulate what it means to be part of AEPi. They're fun to be around, intelligent and always welcoming," said Kyle Whitlock (TCNJ, 2014) the chapter's educational leadership consultant (ELC).
Praised by those who spoke for promoting Jewish life and working well with Jewish partner organizations on campus, the chapter is excited to keep the ball rolling.
"We'll just continuously grow. The whole process will keep the Jewish community aware. When something happens, it spreads easily. Word of mouth is going to benefit AEPi so much in Sydney," said Brother Katz.
Mazel tov to AEPi's newest chapter across the globe! See more of AEPi Sydney by following them on Facebook and Instagram.


2. Our Heikoff Giant Dome Theater was built to give the audience a feeling of being immersed in the show. Do you know how many miles of film are shown each year in the Heikoff Giant Dome Theater?
3. Every day, the Fleet encourages children to participate in science through hands-on exhibitions. Do you know the name of the girls' science group that meets at the Fleet on the second Saturday of every month?
A. Super Girls of Science!
4. The Fleet is home to the world's first IMAX Dome projection system. What is the original name of the projection system?
5. What planetarium show at the Fleet explores how our moon was created and depicts what will happen, in the far-off future, when galaxies collide?
A. Meteors, Comets, and Asteroids, Oh My!
Did you get every answer right? If you did, then we recommend you email blast everyone that you know about your awesome accomplishment and invite your friends to visit the Fleet! It's OK if you didn't get all of the answers right; it just means that you have a great reason to gather friends and family to explore the Fleet Science Center.


text:
Marilu Henner, född Mary Lucy Denise Pudlowski den 6 april 1952 i Chicago, Illinois, är en amerikansk skådespelerska.

Hon har även skrivit böcker om hälsa och skönhetstips samt en bok med recept på skönhetsmasker och drycker.

Filmografi

Filmer
1977 - Om sanningen ska fram - Danielle
1978 - Blodsbröder - Annette
1982 - Hammett - Kit Conger/Sue Alabama
1983 - Cannonball Run II - syster Betty
1983 - Brudar på hjärnan - Agnes Chapman
1984 - Johnny Dangerously - Lil
1985 - Perfect - Sally
1985 - Gangsterfasoner - miss Tracy
1985 - Spåren slutar i Las Vegas - Ashley Walters
1987 - Skojare på Rivieran - Freddy Grand
1988 - Damernas - Samantha Flannery
1991 - En mans lag - Jackie
1991 - L.A. Story - Trudi
1992 - Kaos i kulissen - Belinda Blair/Flavia Brent
1993 - Batman möter mörkrets härskare - Veronica Vreeland (röst)
1994 - Chasers - Katie
1995 - Kamp för rättvisa - Nancy Conn
1996 - Oskyldigt dömd - Margaret Sutter
1996 - Titanic (TV) - Molly Brown
1999 - Man on the Moon - Elaine Nardo

TV-serier
1978-1983 - Taxi - Elaine O'Connor-Nardo, samtliga 114 avsnitt
1990-1994 - Evening Shade - Ava Evans Newton, 80 avsnitt
2014 - Brooklyn Nine-Nine - Vivian Ludley - 5 avsnitt

Källor

Externa länkar
Officiell webbplats
Internet Broadway Database

Amerikanska skådespelare
Amerikanska scenskådespelare
Amerikanska TV-skådespelare
Personer från Chicago
Amerikanska författare
Engelskspråkiga författare
Födda 1952
Kvinnor
Levande personer

redpajama_set_name: RedPajamaWikipedia


text:
Wacław Piotr Nałkowski, ps. "Przewłocki", "Nerwowy" (ur. 19 listopada 1851 w Nowodworze (dawny powiat garwoliński), zm. 29 stycznia 1911 w Warszawie) – polski geograf, pedagog, publicysta i działacz społeczny. Twórca teorii nieokreśloności terytorium Polski. Ojciec Zofii Nałkowskiej i Hanny Nałkowskiej.

Życiorys
Był jedynym dzieckiem Michała Dionizego Jana Nałkowskiego i Celiny z Rudnickich. Dzieciństwo spędził na Lubelszczyźnie w folwarkach, które dzierżawili jego rodzice. W 1871 roku Nałkowscy przeprowadzili się do Lublina, gdzie ojciec Wacława otrzymał posadę urzędnika, a jego syn rozpoczął naukę w lubelskim gimnazjum. Gdy był w drugiej klasie, zmuszony ciężką sytuacją materialną rodziny, udzielał korepetycji młodszym kolegom, zarabiając w ten sposób więcej niż ojciec. Pomimo to rodzina żyła w nędzy, co przyczyniło się do tego, że młody Wacław często podupadał na zdrowiu. Mimo to każdą klasę gimnazjum kończył z nagrodą. Już wtedy wykazywał zainteresowanie geografią i matematyką. 18 czerwca 1871 ukończył gimnazjum ze złotym medalem.

Nauka
W 1871 rozpoczął studia na Wydziale Filozoficznym Uniwersytetu Jagiellońskiego. Tydzień po jego wyjeździe na studia zmarła nagle jego matka, a dwa miesiące po niej ojciec. Z powodu braku funduszy na podróż, Nałkowski nie był obecny na pogrzebach rodziców. Pogrążony w rozpaczy ratował się, rzucając się w wir pracy, jednak warunki, w jakich egzystował, graniczyły z nędzą (często głodował i marzł w nieogrzewanym pokoju), co ponownie przyczyniło się do osłabienia jego zdrowia. Przerwał studia w Krakowie i po rocznym studiowaniu w Instytucie Inżynierii Komunikacji w Petersburgu wrócił by podjąć je na nowo.

W 1875 roku opracował podręcznik geografii fizycznej, który jednak nie został wydany z powodu bankructwa wydawnictwa.

W 1880 przeniósł się do Warszawy, a w 1882 otrzymał dokumenty uprawniające go do prywatnego nauczania geografii w zaborze rosyjskim. Od tego czasu aż do śmierci zarabiał jako nauczyciel geografii.

W 1885 uzyskał roczne stypendium Kasy im. Mianowskiego, co pozwoliło mu rozpocząć pisanie pracy doktorskiej na Uniwersytecie w Lipsku. Z powodu kłopotów finansowych Nałkowski nie ukończył tych studiów. Po powrocie do Warszawy kontynuował nauczanie geografii na pensjach żeńskich, na kursach i kompletach, a także na tajnym Uniwersytecie Latającym a od 1905 w Towarzystwie Kursów Naukowych.

W 1903 roku Nałkowski odbył swą jedyną zagraniczną podróż naukową do Austrii, Szwajcarii, Francji i Włoch w celu zaznajomienia się z lodowcami, wulkanami i zjawiskami krasowymi. Z powodu trudnej sytuacji finansowej nie mógł pozwolić sobie na podróżowanie.

Jako entuzjasta geografii, Nałkowski podkreślał konieczność powstania Polskiego Towarzystwa Geograficznego.

Pisarz, publicysta
Lata 80. XIX wieku to dla Nałkowskiego również czas pisania wielu prac z zakresu geografii. Szereg pozycji napisanych przez niego było rzetelnym wkładem do literatury tematu i często przez dziesięciolecia służyły jako podręczniki (Gieografja Fizyczna). Z kolei w latach 90. XIX wieku pod wspólną redakcją Wacława Nałkowskiego i Andrzeja Świętochowskiego powstał największy do dziś polski atlas (Wielki atlas geograficzny).

Wacław Nałkowski pisał także artykuły, recenzje i polemiki drukowane między innymi w "Głosie", "Ateneum", "Przeglądzie Pedagogicznym", "Prawdzie", "Niwie". Podejmował tematykę współczesnych sporów ideologicznych takich jak prawa kobiet, darwinizm, klerykalizm, postęp-wstecznictwo, proletariat i reakcja społeczna.

Na łamach "Kurjera Warszawskiego" i "Głosu" odbywała się jego polemika z Sienkiewiczem, bowiem Nałkowski odnosił się krytycznie do ideologii przedstawionej w Rodzinie Połanieckich.

Nałkowski opracował łącznie ponad 450 pozycji naukowych i publicystycznych.

Był członkiem Zarządu utworzonego w 1906 roku w Królestwie Kongresowym Towarzystwa Kultury Polskiej.

Życie prywatne i śmierć
W 1881 roku poślubił Annę Šafránek, z którą miał trzy córki: Celinę (zmarła w niemowlęctwie), Zofię i Hannę. Nałkowscy mieszkali w Warszawie, natomiast w 1895 roku kupili na raty kawałek nieurodzajnej ziemi w Wołominie, na której postawili drewniany dom. Służył on jako ich letnia siedziba. Obecnie znajduje się tam muzeum poświęcone Wacławowi i Zofii Nałkowskim.

Wacław Nałkowski zmarł nagle na udar mózgu w 1911 roku. Jego pogrzeb stał się manifestacją całej postępowej Warszawy.

Spoczywa na cmentarzu Powązkowskim w Warszawie (kw. 219-II-1). Autorką rzeźby Bojownik (1926) na pomniku Nałkowskiego jest jego córka, Hanna Nałkowska. Rzeźba nawiązuje do poematu Nałkowskiego pod tytułem Bojownik. Pomnik ten odsłonięto w 15. rocznicę śmierci geografa, staraniem Polskiego Towarzystwa Geograficznego.

Publikacje (wybór)

Publikacje naukowe
 Polska, 1887 (pierwsza synteza geograficzna Polski)
 Zarys geografii powszechnej, rozumowej, 1887 (pierwszy polski podręcznik nie tylko opisujący, ale i wyjaśniający zjawiska ziemskie)
 Zarys geografii powszechnej, poglądowej, 1895
 Wielki atlas geograficzny (współautor), 1895-1906
 Ziemia i człowiek. Szkice i studia geograficzne, 1901
 Gieografja Fizyczna, 1904 (przez wiele dziesięcioleci był to jedyny w Polsce, opracowany na wyższym poziomie, nowoczesny podręcznik z tego zakresu)
 Dookoła Alp, 1904 (książka wydana po odbyciu jedynej naukowej podróży zagranicznej)
 Zarys metodyki geografii, 1908
 Gieografja Malownicza 1. Australja (z Polinezja), 1902
 Gieografja Malownicza 2. Ameryka Południowa, 1909
 Gieografja Malownicza 3. Ameryka Północna, 1909
 Gieografja Malownicza 4. Afryka, 1909
 Gieografja Malownicza 5. Azja, 1911
 Materjaly do Gieografji Ziem Dawnej Polski, 1913
 Metodyka do Gieografji, 1925
 Świat i Człowiek, 1908
 Zarys Gieografji Rozumowej (Gieologji), 1907
 Zarys metodyki geografii, Wydawnictwo M. Arcta, Poznań, 1920

Publicystyka
 Szkice społeczne i literackie, 1876
 Forpoczta, 1895
 Jednostka i ogół: szkice i liryki psycho-społeczne, Kraków 1904
 Sienkiewicziana, 1904

Upamiętnienie
Córka Zofia Nałkowska poświęciła mu zbiór wspomnień Mój ojciec.

W Lublinie (w dzielnicy Wrotków) upamiętniono jego nazwisko w nazwie spółdzielni mieszkaniowej (Spółdzielnia Mieszkaniowa im. Wacława i Zofii i Nałkowskich), w nazwie osiedla mieszkaniowego (Osiedle Nałkowskich) oraz jednej z ulic (ul. Nałkowskich).

W Wołominie – pod adresem ul. Wacława Nałkowskiego 17 – znajduje się Muzeum im. Zofii i Wacława Nałkowskich.

W Wołominie – pod adresem ul. M. Sasina 33 – znajduje się I Liceum Ogólnokształcące im. Wacława Nałkowskiego

W Nowodworze, w miejscu, gdzie znajdował się rodzinny dom Nałkowskich, znajduje się pamiątkowy pomnik. Zespół szkół ogólnokształcących w Nowodworze nosi imię Wacława Nałkowskiego.

Przypisy

Bibliografia

Linki zewnętrzne
 Proletariat i twórcy Wacława Nałkowskiego w sieci
 Zarys metodyki geografii Wacława Nałkowskiego w sieci
 Prace Wacława Nałkowskiego w serwisie Polona.pl

Polscy publicyści XIX wieku
Urodzeni w 1851
Zmarli w 1911
Absolwenci i studenci Uniwersytetu Jagiellońskiego (okres zaborów)
Autorzy artykułów w Słowniku geograficznym Królestwa Polskiego
Polscy pisarze
Polscy geografowie
Polscy geopolitycy
Wykładowcy Uniwersytetu Latającego 1882-1905
Wykładowcy Towarzystwa Kursów Naukowych 1905–1918
Członkowie Towarzystwa Kultury Polskiej
Pochowani na cmentarzu Powązkowskim w Warszawie
Ludzie urodzeni w Nowodworze (powiat rycki)


I didn't know this existed! Just the other day I was wishing that this existed, and it turns out it already does.
Watchtower identifies website vulnerabilities and alerts you when one is found. Website vulnerability information is refreshed daily to verify items in your vault. 1Password downloads the information and checks it locally against your Logins. Watchtower will list Logins associated with sites which have (or had) known vulnerabilities.
Sadly, my list of passwords that should be changed is of the "there goes my afternoon" magnitude.


text:
Wrestling with smoke
'Is it going to be ok?' How many times have I heard this, or a variant of it, from southern friends in recent months? They've never needed to be more specific than that. I've never needed to ask 'is what going to be ok?' The what has been obvious to us both.
And until now, the answer has always slipped out instantly and easily: yes, it'll be ok. Don't worry. It's really only a question of how much we win by. Scotland isn't going to bail out on you: we're not made like that.
In London last week I bumped into a pal, a foreign correspondent of courage and integrity and a man who thinks hard about the world. He has been in the thick of it in all the global danger zones of the past few decades – Iraq, Syria, Libya, Lebanon, you name it – and recently returned from Gaza. The kind of mate you worry about. The kind of guy you're proud to share a country with.
As usual, the first thing he asked me was: will it be ok? And I stopped, and I thought, and I told him: I don't know. I really don't know if it's going to be ok. Very possibly not.
I can't print his response, but I can tell you it was a word of no more than four letters. He was shocked, at first, and then, as we talked, he became sad, and then angry.
You might be rolling through these sorts of emotions yourself at present. I know I am. The first poll to give Yes a lead appeared at the weekend, confirming what has become apparent. The trajectory of the referendum debate has been a grim spectacle for those across these islands who continue to feel British, who see the good in Britain, who know we are more than the sum of our parts — who believe we are, to use a phrase now almost drained of meaning by its ubiquity, better together.
With 10 days to go, the vote is heart-stoppingly close. If I didn't have a dog in the fight I'd be mesmerised. Instead, I'm chilled. Understand this: it's a distinct possibility that the Britain of David Hume, Jane Austen, Charles Darwin, Clement Attlee, Keir Hardie, Winston Churchill, John Lennon, Andy Murray – make your own list — has only 10 days left. The difference between a Yes vote and a No vote is down to fractions, and the momentum lies with the separatists.
Friends closely involved in the Better Together campaign – not all, but some — have become fatalistic about the result. There are reports Glasgow will vote Yes. Dundee seems to be a goner. Fife is tight. 'It's slipping away,' one pessimist tells me. 'I genuinely think Scotland's going to vote for independence. I can't believe it's come to this. I can't believe it.'
How has it come to this? What has brought the most successful and mutually beneficial union in global history to the brink of collapse? Why do Scots – whose support for independence has rarely risen above 30-odd per cent through years of debating the constitution and little else – seem all of a sudden to be seduced by secession?
If this is the end, there will of course be decades of debate about the moment and its causes. It will be an event of great historical note – it's not nothing, the United Kingdom. The final dissolution of a small-ish island that once had the flair and audacity to rule the world; the snuffing out of a bright lamp of civilisation, democracy, tolerance and solidarity; a burden wearily laid down by those who could hack it no longer, or who had just lost interest. There's a book or two in that.
I believe the real No voters are those who will mark the Yes box in the polling booth – naw, they're effectively saying, we don't want this responsibility any more. It's too hard. It's messy and dangerous and we don't always get what we want. We'll leave you to it. No thanks, pal, we're off.
The history books might record that the Better Together camp struggled to tell Scots a simple, consistent and convincing story and that this was because the raw materials it was working with were infinitely complex and flawed, battered and bashed and worn by the centuries. The 'elevator pitch' for Britain, the snappy soundbite summation of the case, was always going to be a tough ask. Even at the end, though our circumstances and influence were diminished, we remained one of the bigger guys, one of the decision takers in global affairs. Some of the decisions we helped to take went well, some not so well. As decisions will. Anyway, we always did our best. Regardless, we were given no quarter: everything was held against us, cheaply.
Britain is, in short, an easy target. Those with malign intent will not struggle to build a charge sheet: they need only let their eye pass unseeingly over the very many good bits.
Defence of the realm is not made any easier when the officers and troops you're relying on are enemies forced temporarily, and reluctantly, to act as allies. The island story that the Labour Party recites is not the same as the one relayed by the Tories. Their respective narratives largely comprise wet-eyed reminiscences of legendary triumphs over the other. Both have been responsible for great innovations and advances in our society, but neither wants to credit its opponent.
This hand-to-hand combat is the way Britain has got things done, and with Scots at all times at the heart and helm. How strange that it could be the end of us, too. Pathetically, with the kingdom's very future at risk, the parties could not even agree one big, generous offer of further powers in the event of a No vote. They may be reaching such a deal now, but it would have been far better done from a position of strength.
Talk has resurfaced that David Cameron will have to resign if there is a Yes vote. I'm not sure that's fair – he's had a good referendum and won't be the reason for either victory or defeat. Be in no doubt, if the thing is lost it is towards Labour that we should turn our burning stare.
Founded by a Scot, dominated by Scots, dominant in Scotland, agitator for a Scottish Parliament and then deliverer of it: it's all about Labour. In his speech at the opening of the Scottish Parliament, Donald Dewar said: 'We look forward to the time when this moment will be seen as a turning point: the day when democracy was renewed in Scotland, when we revitalised our place in this our United Kingdom.'
But Dewar's party, whether through arrogance or negligence, stopped looking forward. Instead, it turned its back. The few senior servicemen sent from Westminster to midwife the birth and nurse the infant through its early years were quickly gone. They left behind a lumpen rump lacking the boldness or the intellect, or both, to lead. Alex Salmond merely took his chance.
All Labour's bright young Scots still headed south to Westminster, with ambitions to be Foreign Secretary and best buddies with a Clinton. Every Scottish Labour politician continued to blame the Tories for all society's ills – it was an easy hit with the voters. The SNP and the Lib Dems happily joined in. And this England they all talked about: it made the hair on the back of your neck stand up. A foreign land of sinister experiments on the poor, of cackling toffs stubbing out cigars on passing immigrants, of warmongers obsessed with Jesus, George W and oil.
In this view, the Blair government wasn't a necessary attempt to accommodate Labour values and modernity, it was proof that the worst of the English character had triumphed. Reform and innovation became dirty words. In 2010, when a moderate Tory/Lib Dem coalition came to power, it was treated like the Gestapo had taken over.
As the No camp has wrestled with this toxic legacy and tried to smooth out the contradictions, the separatists have made hay. Where Britain is real, and attacking it is no harder than hitting a cow's backside with a banjo, an independent Scotland is a fantasy. Every Yes voter projects his or her own desires on to it, whether they be green, socialist, Nordic, atheistic-rationalist, whatever. The argument, whatever they say, is founded on a negative — a rejection of British solidarity – and supplemented by blind faith in… what, exactly? For Better Together, this is a problem: how do you land a punch on a phantom? How do you wrestle with smoke?
There are two distinct conversations going on in Scotland today. One is dreary and fact-based. It is concerned with national debt, currency, interest rates, mortgage costs, pensions, EU membership, the departure of key businesses, the severe austerity that a newly independent Scotland would almost certainly have to implement. It worries about how we can do our bit in a time of great global crisis.
The other is that nationalist fantasy, soundtracked and scripted by middle-class musicians, playwrights and actors, urged along by disenchanted, superannuated newspaper columnists, gleefully led by a pied-piper politician as cynical and self-interested as any of those he castigates at Westminster. Everything will be fine, the detail doesn't matter, we'll cross each bridge as we come to it, it'll be alright on the night. Let's just get out.
Well, it looks like we might be about to do just that. Ten days to save our Scotland, our Britain. Do what you can, friends, because it's not ok. It's really not ok.
(This article appeared in the Scottish Daily Mail on September 8, 2014)
ZOO EARS

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Clicking on email address loads it as a webpage as well on webview I am developing an app that is similar to a web browser.
Now when i click on an email address in a web page displayed thru a WebView, this is what happens :

*

*A set of email clients for me to choose from are displayed

*The webview tries to load the url, "mailto:abc@xyz.com" and displays the error page when it cannot find the url.

I am trying to figure out how to solve the problem in No.2.
Basically, i do not need the app to load the url that contains a 'mailto:'.
Here's what i have tried to do but failed:

*

*under 'shouldOverrideUrlLoading()',
if( url.startsWith("mailto") )
{
    /*Do the stuff for sending email but i will not display */
     url = null;
}

*Before the view.loadurl(url),
Added a
if( !url.startsWith("mailto:") )
     view.loadurl(url);

I know these are hacks and are not very elegant.
Hence, can someone point me in the right path ?
Thank you.

A: Try with using return true; in shouldOverrideUrlLoading() method. :)

A: Ravi Bhatt's answer is correct. At the end of the function, it should return true;
BUT you will have to manually capture any url containing http or https and load the url. Here's what i meant :
Under shouldOverrideUrlLoading(),
else if( url.startsWith("http:") || url.startsWith("https:") )
{
    view.loadUrl(url); //u can use the default webview or your own webview
}

/*At the end of the function*/
return true;

If you put in a return false somewhere, it will not work too.
url = null will not help too.
Hope this helps anyone else out there with similar problems to mine.

redpajama_set_name: RedPajamaStackExchange


In my last newsletter, published on 1st November 2018, I wrote of the passing of Richard Gill AO, musical luminary in Australia and champion of the cause of getting music into every school in Australia. It is ironic that just one week after his death, the ABC broadcast the first of a 3-part series on music in primary school and its effect on students. They chose a disadvantaged school in Perth to showcase what can happen when music is introduced to children.
It is interesting that usually schools cite lack of resources as the reason they can't do whatever it is they'd like to do. This school, too, didn't have the resources either so they started to get a little bit creative in their endeavours. They appealed via radio and other media to all and sundry for instruments. Lo and behold! Who would have thought that simply asking the question could have had such dramatic results! Musica Viva and The Salvation Army immediately came to the party with 'retired' instruments for the students to practise on. It was not long before they had enough instruments to get started. They enlisted the help of other mentors, including the well-known Guy Sebastian and academic Dr Anita Collins from the ANU. Before long, the students were playing and singing and thoroughly enjoying their music lessons. They already had a music teacher but he was limited in what he could do without this support and especially, without the instruments. He was keen and could play an instrument himself but he was not trained as a music specialist. As such, with all the will in the world, he was somewhat restricted. With all this support he became unstoppable.
The success of this experiment at Challis Primary School is set to be rolled out across other schools and in other states. This is the very thing that Richard Gill was advocating for years. It is gratifying that the cause has been taken up by the ABC through this documentary series. Hopefully the Australian government and our state governments can finally recognize how important this is in schools and make the funding available for better music programs. Not to mention support from the community as well, of course.
In years gone by, Early Childhood teachers were required to play a musical instrument in order to teach. This went out the window with the advent of cassettes and then CD players and finally computers. It was not necessary for the class teacher to be able to actually play. That assumes the importance of music was still being taught at universities to these budding teachers. Hmmm… that is where things get a little blurred. The result is obvious, and no fault of any teacher. The teachers I have had the privilege of working with over the years have all been wonderful examples of dedicated professionals. But they need support.
Let us hope that finally, there will be a good outcome for all primary schools in Australia. I get back to what I have often said, 'Do they do this in Finland?' When the answer is, 'yes' then we should do it too. As should all schools everywhere. Congratulations ABCTV for bringing this topic into the public domain. If you would like to watch this documentary series, click here.


text:
"מחנה יהודה" המקורי: האם התגלה השוק של ירושלים מתקופת בית שני?
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A Rare Bronze Oil Lamp Shaped Like Half a Face
Wed, 2021-05-05 09:50 — netanel
The First Discovery of its Kind in Jerusalem and One of the Few in the World: A "Lucky" Bronze Oil Lamp Meant For Good Fortune Was Uncovered During Excavations of the City of David's Pilgrimage Road.
A rare bronze oil lamp, shaped like a grotesque face that is cut in half, was recently discovered buried within the foundations of a building dating to the Roman period, subsequent to the destruction of Jerusalem and the Second Temple in 70 CE (late 1st-early 2nd century CE).
This excavation was conducted under the supervision of the Israel Antiquities Authority in the Jerusalem Walls-City of David National Park and funded by the City of David Foundation, the Ministry of Tourism, the Ministry of Jerusalem and Heritage, and the Jerusalem Development Authority.
Photo Credit: Asaf Peri
This special bronze lamp was deliberately buried in the foundations of the building and, in the opinion of the site's archaeologists, was used as a foundation deposit (a ritual burial of an offering in the foundations of a building). "Foundation deposits (offerings) were prevalent in the ancient world, and were intended for luck, and to ensure the continued existence of the building and its occupants, and they were usually buried under the floors of buildings or foundations," explained Dr. Yuval Baruch and Ari Levy, archaeologists on behalf of the Israel Antiquities Authority.
This lamp may have been used as a ritual offering in order to bring good fortune to those inhabiting the building, which was found built on top of the Pilgrimage Road. According to archaeologist Ari Levy, Director of Excavations in the area, "The building where the lamp was discovered was built directly on top of the Pilgrimage Road at the end of the Second Temple period." The construction of such a massive structure in the period after the destruction of Jewish Jerusalem demonstrates the importance of that area even after the destruction of the Second Temple. It is possible that the importance of the building, and the need to bless its activity with luck by burying a foundation deposit, was due to the fact that it guarded the Siloam Pool, which was also used in the Roman period as the central and only source of water within the city.
The oil lamp was discovered in the foundations of the building, buried to bring good luck. Photo Credit: Koby Harati
It is actually half of a lamp. It was poured into a sculpted mold that was shaped like half of a face of a bearded man with a grotesque appearance. The tip of the lamp is shaped like a crescent moon, and the handle is shaped like the Acanthus plant. The decoration that appears on the lamp is reminiscent of a common Roman artistic motif, similar to a theatrical mask.
According to archaeologists, "This lamp is a very unique find, and as far as we know, the first of its kind discovered in Israel. The uniqueness of the current object is that it is only half a face." Researchers are debating what this means. It may have been simply a practical matter. The lamp would slot into a flat-walled object or niche in the wall to serve as a wall lamp, but the possibility that it was an object used in some sort of ceremonial ritual should not be ruled out.
According to Dr. Yuval Baruch of the Israel Antiquities Authority, "Decorated bronze oil lamps were discovered throughout the Roman Empire. For the most part, such oil lamps stood on stylish candelabras or were hung on a chain. Collections around the world contain thousands of these bronze lamps, many of which were made in intricate shapes, indicating the artistic freedom that Roman metal artists possessed. Meanwhile, this half of a lamp, and in fact half a face, which was discovered in the City of David, is a very rare object, with only a few discovered in the whole world, and is the first of its kind to be discovered in Jerusalem."
Half the lamp was unearthed. "We hope to find the other half." Photo Credit: Eliyahu Yanai
After the bronze lamp was found, it was handed over for treatment and preservation in the metal laboratory of the Israel Antiquities Authority and put in the care of Ilia Reznitsky.
During the treatment, another exciting discovery was made - inside the lamp cavity was a lampwick, which is not typically preserved. The wick, which is a very rare find, was submitted for examination by Dr. Naama Sukenik, curator of organic materials at the Israel Antiquities Authority. Upon examination under a microscope, Dr. Sukenik identified that it was a wick made of flax. Later on in the study, the researchers would like to find out if there is any oil residue left on the wick, and from there learn if the lamp was used, and if so, what oil they used to light it.
For additional finds in the City of David >>
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text:
CDA67962
Digital booklet (PDF)
L'heure exquise
A French Songbook
Alice Coote (mezzo-soprano), Graham Johnson (piano)
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Label: Hyperion
Recording details: October 2012
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Total duration: 74 minutes 28 seconds
Cover artwork: Femmes a la Toilette, fan made for the Parisian Couturier Madame Paquin (1912) by Georges Barbier (1882-1932)
Musée de la Mode et du Costume, Paris / Archives Charmet / Bridgeman Images
Alice Coote is the darling of the world's opera stages and recital halls—to the extent that her solo recordings are rare events. In this much-anticipated French Songbook, Graham Johnson lends his incomparable insight to this most remarkable of talents on an emotional rollercoaster through twenty-three songs of Gallic love in all its guises.
GRAMOPHONE EDITOR'S CHOICE (JUNE 2015)
'The beauty of her mezzo-soprano glows with radiance' (Financial Times)» More
'This is a beautifully formed recital shining different lights on a central theme. It is distinguished by Coote's thorough absorption in the stylistic character of each song, conveying their individual sentiments and sensitivities with her rich, liquid mezzo' (Gramophone)
'Coote demonstrates the sexiest quality any singer can possess: complete attention to the text … pianist Graham Johnson … identifies the difference between moonlight, candlelight and sunlight. As a sequence, it is brilliantly programmed' (BBC Music Magazine)» More
'Coote is in sumptuous voice, Johnson in his element' (The Sunday Times)» More
'Coote luxuriates in these nostalgic songs, with their flowery allusions to erotic encounters, the beauty of youth and the transience of love … it is a truly mouthwatering selection' (Sinfini Music)» More
Other recommended albums
"You will find sobriety and dolour in French music just as in German or Russian, but the French have a keener sense of proportion. We realize that sombreness and good humour are not mutually exclusive. Our composers too write profound music, but when they do, it is leavened with that lightness of spirit without which life would be unendurable."	(Francis Poulenc, 1950)
This programme of nineteenth- and twentieth-century French song includes love-songs both familiar and cherished on the one hand, and lesser known and exquisite on the other. In the first half, love is mostly bliss, even if a tinge of melancholy awareness that all such happiness is transitory peers through on occasion. In the second half, bygone love is mourned and remembered, whether in pain or sorrowful acceptance, while song in a uniquely French mode of philosophical contemplation—miniature meditations à la recherche du temps perdu—dominates at the close.
We begin and end with songs by the twentieth-century master of mélodie Francis Poulenc, starting with a work—Les chemins de l'amour—that contains and sums up the major themes of this programme. It was composed in 1940 (the year the Germans marched into Paris) for the great singer and actress Yvonne Printemps (1894–1977), married to the actor/director/screen writer/playwright Sacha Guitry from 1919 to 1932, as part of Jean Anouilh's drama Léocadia (one of Anouilh's 'pièces roses' or 'rose-colored plays'). Here, a quintessential Parisian waltz-song is turned into an elegiac paradigm of love, loss, and memory; when all else fades, may I remember the time of your first touch, the singer pleads. The way in which this melody sways back and forth between higher and lower pitches is irresistible; one feels cradled in it, as if in a dancer's or a lover's arms.
Next, we go from twilight to night in two love songs by the Caracas-born, half-German Jewish, half-Venezuelan composer Reynaldo Hahn, among the most elegant denizens of belle-époque Paris. (We trace times of day, and seasons of the year and of life in this programme, as well as the many faces of love.) A protégé of Charles Gounod and Jules Massenet, Hahn became first the lover, then the lifelong friend of Marcel Proust. A fin-de-siècle creature to the core, he was never comfortable in the twentieth century, and on several occasions in his two anthologies of song, he looks back at bygone times with nostalgia. One of his most exquisite mélodies is his setting of the great French 'poète maudit' (ill-fated poet) Paul Verlaine's L'heure exquise, from the poetic anthology Fêtes galantes of 1869. The title comes from the Antoine Watteau's early seventeenth-century rococo paintings of exquisitely dressed young people playing at love in pastoral landscapes; the melancholy beneath the frivolous surface tells us that all earthly pleasures are brief. In Hahn's setting, a transparent accompaniment gently rises and falls while the singer's voice murmurs languorously from within the texture. Because the vocal line is so reticent most of the time, the occasions when it soars are unforgettable. Seldom have gently buoyant leaps been so magical as their threefold invocation in this song ('Ô bien-aimée', 'Rêvons', 'C'est l'heure exquise').
The alternating chords in the piano throughout Les étoiles, when played very smoothly and softly, shimmer like the stars hymned in Théodore de Banville's poem from the anthology Rondels composés à la manière de Charles d'Orléans of 1874. (Banville, who inveighed against both Romanticism at its most excessive and Realism, was a proponent of chiselled rhymes and forms and the cult of beauty in verse.) The luxuriant melody unfurls en route to the rhapsodic climax at the words 'Ces fournaises de diamants' ('These diamantine furnaces') shortly before the end.
Le secret is a setting by Gabriel Fauré—that consummate master of French song—of a poem by Armand Silvestre, a civil servant in finance and the creator of understated erotic verse that appealed to composers because it left them room for music. No one will have any difficulty decoding the sweet secret of this song, a solemn hymn to love at morning, night, dawn, day and sunset.
Two winsome songs of love at its newest and freshest are next, both the invention of the prolific Charles Gounod. One of the most influential French composers in the last half of the nineteenth century, Gounod occupied himself mightily with opera (Faust, Mireille, Roméo et Juliette, among others), but he also wrote 100-plus songs, in which he sought to instil greater harmonic substance and stylistic elegance in the earlier French tradition of strophic song, or romance. Scholars dispute about who invented the mélodie, Berlioz or Gounod, but both men played their roles in the transformation of French song. The great French Romantic writer Victor Hugo's Sérénade celebrates love and song alike, so it is no wonder that composers were drawn to it. In Gounod's setting, its lilting swing-and-sway irresistible, the serenader's hand sweeps over the guitar or mandolin strings, with the piano taking their place for this occasion, between the vocal phrases. In the refrains, the urge to embellish invades the singer's part as well: love takes flight. The poet and dramatist Jules Barbier, who wrote the libretto for Gounod's Faust, also gave the composer the words for Au printemps, a song that rejoices in springtime love; each strophe ends the dulcet invitation, 'Come, let us be happy', as its refrain. Conjoined with triplet-laden breezes and springtime rustlings in the piano, most of the singer's phrases rise upwards, as if ascending to happiness.
Family tradition steered Emmanuel Chabrier into law school and a career in the Ministry of the Interior, but his civil service post did not prevent him from a full life as a composer. A portly fellow beloved by many, he was a Wagner enthusiast who was moved to tears by his first experience of Tristan and was portrayed by Henri Fantin-Latour at the piano with a Wagner score. Chabrier's Toutes les fleurs is a floral catalogue-song penned by Edmond Rostand, author of the 'smash hit' Cyrano de Bergerac. This hyperbolic song brings Tristan into the drawing room to épater everyone present with its theatricality. To the song's dedicatee Ernest von Dyck (appropriately, France's first Parsifal), Chabrier wrote, tongue-in-cheek (or not), that 'you have to show at least 64 teeth and the third couplet has to be sung with white eyes and your hand on the seam of your fly, with crazy slobbering and downright diabolical fieriness'. A thorough understanding of the Wagnerian tonal revolution, a marvellous sense of the ridiculous, and passages of aristocratic delicacy to vary the delighted excess regnant elsewhere meet and mingle in this work.
Self-critical and pessimistic, the late nineteenth-century French composer Ernest Chausson wrote beautiful songs before his early death in a freak bicycle accident. Le temps des lilas is perhaps Chausson's most famous song, the essence of nostalgia for all that slips away from us as time goes by. The writer Camille Mauclair once described Chausson as having the appearance of someone 'rising from mid-dream and taking a step towards reality … he was one of those who concern themselves their entire lives with their inner existence', and we hear in this song a pattern typical of this composer: a beginning in elegiac melancholy, anguish and turbulence in the middle section, and a return to opening strains now made even more haunting at the close.
Fauré's Fleur jetée is sometimes compared to Schubert's Erlkönig because of the repeated octaves and pounding chords in the piano, filling the air with a sound-and-fury that is atypical for Fauré—but these two geniuses are not really alike. In this song we are swept along au gré du vent, the 'wind' in this instance being Fauré's inimitable way with harmony. The composer Florent Schmitt once stated that Fauré was 'more profound and more of a musician than Saint-Saëns, more varied than Lalo, more spontaneous than d'Indy, more classical than Debussy, more inward and more deeply felt than Chabrier', yet this song renders even these comparatives seemingly inadequate.
The six poems of Hector Berlioz's song cycle Les nuits d'été (Summer nights) all come from the anthology La comédie de la mort (The commedia of death, 1838) by Théophile Gautier. The persona of Le spectre de la rose is a rose that had been a girl's corsage one evening at a ball and is now a ghost that haunts her dreams, his death one a king might envy. Of the many beautiful details in this expansive song, one might note in particular the change of tonal location to a darker, richer place when the rose invokes the girl who wore it the entire night long (Berlioz's harmonic language was radical in its time), the reverent address 'O you who brought about my death' mid-song, and the long chromatic descent when the rose avers that no Mass or De profundis is needed, that it is now a sweet scent from heaven.
A leading figure in the French musical renaissance of the 1870s, Camille Saint-Saëns was a child prodigy at the piano ('He knows everything but lacks inexperience' was Hector Berlioz's witty assessment of the young composer-performer). An early defender of Wagner and Liszt, Saint-Saëns also helped promote the music of Bach, Handel and Mozart in France; as a teacher at the École Niedermeyer, founded to improve musical standards in French churches, he taught Fauré, who became a lifelong friend. Through most of the first two strophes of Saint-Saëns' ultra-Romantic hymn to Love's all-conquering power, Aimons-nous, we hear a ritualistic march of solemn, rich chords in the piano; from the final couplet of the second strophe, the motion quickens, leading to a triumphal conclusion and a reverent 'Amen' cadence for this prayer to love, its 'celestial lilies' a rhapsodic transformation of more earthly blossoms. The mastery by which Saint-Saëns bids the voice at the beginning to sink downwards slowly and sensuously, then rise in a more impassioned and quicker-moving passage, tells us why this song is beloved.
Two songs that continue this theme of love as the rhapsodic peak of existence close out the first section of this programme, before the mood darkens and time takes its toll on love and life alike. According to Graham Johnson, Chabrier's L'île heureuse combines the grand sweep of Tristan und Isolde and the delicacy of Watteau's immortal painting L'embarquement pour Cythère, whose beautiful young people set forth on a voyage to Cythera, the mythical island of Venus and love. The way in which Chabrier tints the murmuring waves of the accompaniment with shifting harmonic colours bears witness to his uniquely French assimilation of the Wagnerian revolution in music.
The elegantly mustachioed Alfred Bachelet—conductor at the Opéra in Paris, director of the conservatory in Nancy, and composer—wrote his best-known song, Chère nuit, for the great Australian coloratura Nellie Melba. This is mélodie at its most opulent and operatic, replete with the lushest Romantic harmonies, rapturous quivering figures in the piano-cum-orchestra, and ecstatic high notes galore.
Soirée en mer is a testament to Saint-Saëns's love of the poetry of Victor Hugo, who was a passionate republican (after royalist beginnings), ardent advocate for those unjustly treated, politician, anti-clerical lion, artist and prolific poet. In this song, an expansive, lyrical melody floats on rising-and-falling waves in the piano. In the alternation between major and minor chord colours at the end, we hear the encapsulation of Hugo's contrast between the dark waves below and the enchanted stars above, between the beloved person who sees God smile and the poet who sees man weep.
Claude Debussy, who called himself a 'French musician' in opposition to Germanic/Wagnerian music, took part in the late nineteenth and early twentieth century's revival of earlier French poetry for musical setting. La grotte is one of three settings of poetry by the seventeenth-century dramatist François l'Hermite, who wrote under the name Tristan l'Hermite, a powerful if shadowy figure at the court of Louis XI in the late fifteenth century in real life and a character in Victor Hugo's Notre-Dame de Paris and Sir Walter Scott's Quentin Durward in his fictive afterlife. This song is emblematic of Debussy's signature stylistic mannerisms: the clouded harmonies that refuse to resolve in properly Germanic manner, the repetition of small patterns (the languorous pulses on each beat), the separation of the piano part into different registers, and the singular patch of pure triads to tell us that this grotto is where Narcissus died.
In Hahn's Fumée, its words penned by the Symbolist poet Jean Moréas (the nom de plume of the Athenian-born writer Ioannis Papadiamantopoulos), the persona sees his life—by extension, all life—as akin to smoke: both come from fire and last but an instant before vanishing. Complex harmonies drift upwards note-by-note, culminating in suitably smoky, clouded chords in the treble register. At the end, the final nebulous harmony wafts even higher into the ether, followed by an empty low bass pitch: perhaps the néant (nothingness) into which we all vanish.
Debussy christened Erike Satie 'the precursor' because he anticipated so much of twentieth-century music, from total chromaticism to minimalism; his trademark ironic wit is built into his compositions. An antidisestablishmentarianism type from the start, he disdained his formal training at the Paris Conservatory, calling it 'a sort of local penitentiary'. (He would later pursue formal studies at the Schola Cantorum.) An habitué of the cabarets in Montmartre, where he worked as an accompanist, he wrote music-hall songs for Paulette Darty, 'the queen of the slow waltz', including Je te veux. These songs strike deeper than one might think; here, a woman freely confesses her desire.
A Romantic writer who won praise from none other than the redoubtable critic Charles Sainte-Beuve for her poetry, Augustine-Malvina Blanchecotte creates in La chère blessure the psychological portrayal of remorse and guilt that are actually cherished because they impel the persona back to a lover he or she once mistreated. For such dark complexities of the human heart, Reynaldo Hahn concocts wonderfully brooding, dissonance-laden harmonies against which the voice mostly murmurs on repeated pitches. When the persona sings of ripping 'your name' out of her heart in the past, the vault upwards at 'arraché' (plucked, torn, ripped) is all the more intense in the wake of the chanting that precedes it.
The son of a wealthy textile industrialist, Charles Koechlin studied composition at the Paris Conservatory with Gabriel Fauré, who was the greatest influence on his life and music. Koechlin began his long career with a spate of songwriting from 1890 to 1909, with some twenty further mélodies following in the World War I years and 1920s. The first harmony we hear in his Novembre is as dark, muffled, and grey as a November day, and the entire song is shrouded in gloom. The persona remembers bygone love and faith; thinking of gravestones with their flowers, he brings November's prayer to his dead dreams. No wonder we hear bells for the dead tolling in the piano.
To close this album we hear Francis Poulenc once again, in four different moods that recapitulate the trajectory of this entire programme, from giddy delight to elegy. Voyage à Paris and Hôtel both come from Poulenc's wartime song cycle Banalités to poems by the Surrealist poet Guillaume Apollinaire. Voyage à Paris is a giddy whirl of a waltz-song, and captures Poulenc's joy whenever he returned to the city he loved most. 'For me', he wrote, 'Paris often brings tears to my eyes and music to my ears'. Poulenc and the baritone Pierre Bernac used to perform this song as a mildly malicious encore at the end of recitals in the provinces. When we hear Hôtel (which predates warning labels on cigarette packages), we imagine someone lying in a hotel room in a state of desolate blankness, in the torpor born of despair.
There is no better characterization of La Grenouillère than Graham Johnson's phrase, 'a Proustian madeleine in song … very much about the remembrance of things past'. In this evocation of The Froggery, an island in the Seine where the Impressionist painters would go on outings with their girlfriends (Renoir and Monet both painted it), the island of pleasure is now abandoned, a melancholy sight. With its rich, processional harmonies in the piano, this song is Poulenc in his most meditative, elegiac, contemplative mode.
So too is Voyage, the final song on this album—what could possibly follow it?—from Poulenc's cycle Calligrammes to poetry by Apollinaire. In this elegy for someone loved and lost, we first hear a haunting, spare texture with the piano doubling the singer and sounding a death knell in repeated pitches. As the heart makes Dante's voyage from the hell of grief and loss to the nocturnal sky above ('your face that I no longer see' written in the stars), Poulenc's signature rich harmonies appear. The distant octaves in the postlude are an unforgettable conclusion to an exquisite song. These are sounds from the realm of death and memory ordinarily beyond our grasp—but a great composer can bring them to us.
Susan Youens © 2015


text:
Women of the Early Harlem Renaissance: African American Women Writers 1900-1922 Main Menu "Bronze" by Georgia Douglas Johnson (1922) Digital Edition of Georgia Douglas Johnson's 1922 Collection of Poetry "Race Rhymes" by Carrie Williams Clifford (1911) Digital Edition of Carrie Williams Clifford's "Race Rhymes" (1911) "The Widening Light," by Carrie Williams Clifford (1922) Book by Carrie Williams Clifford. Published 1922 "Songs from the Wayside," by Clara Ann Thompson (1908) Digital Edition of Clara Ann Thompson's "Songs from the Wayside" "The Heart of a Woman and Other Poems" by Georgia Douglas Johnson (1918) Book by Georgia Douglas Johnson (1918) Timeline of Authors and Events on This Site Timeline Contextual Essays Origins of this Project Contextual Essay Bibliography Bibliography Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1
The Birth of a Nation
1 2018-05-24T14:00:12-04:00 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1 104 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:00:12-04:00 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1
Stay! vain, deluded man!
Know not you never can
Attain unto your high estate and rich,
While holding your dark brother in the ditch?
Hold! rash, misguided fool!
Why will you be the tool
Of passions, devilish, ignoble, base,
Wherein no God-like action one can trace?
Traducer of a race,
You, who are fair of face,
Stop! lest the children of a darker hue
In love, shall prove superior to you!
O, brother, pause! reflect!
Each cause has its effect,
This is the law: your acts or soon or late,
Will reap a bounteous harvest,--hate for hate.
1 2018-03-17T13:36:50-04:00 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1 "The Widening Light," by Carrie Williams Clifford (1922) Amardeep Singh 17 Book by Carrie Williams Clifford. Published 1922 plain 2018-11-07T10:01:57-05:00 02/01/1922 41.4975108,-81.7758995 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1
1 2018-05-24T15:09:47-04:00 Dedication (A Widening Light) 1 Dedication for Carrie Williams Clifford, A Widening Light (1922) plain 2018-05-24T15:09:47-04:00
1 2018-01-08T17:08:07-05:00 The Widening Light 2 Poem by Carrie Williams Clifford. From "The Widening Light" (1922) plain 2018-03-17T13:40:41-04:00
1 2018-01-08T17:09:41-05:00 A Toast to Africa (Christmas 1920) 3 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-11-07T10:36:03-05:00 12/25/1920
1 2018-01-08T17:10:28-05:00 Mothers of America 2 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-03-17T14:27:29-04:00
1 2018-01-08T17:13:43-05:00 To Phyllis Wheatley (First African Poetess) 2 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-03-17T13:44:50-04:00
1 2018-01-08T17:15:23-05:00 Frederick Douglass 3 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-11-07T10:39:24-05:00 02/20/1917
1 2018-01-08T17:17:02-05:00 L'Envoi 2 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-03-17T14:25:12-04:00
1 2018-01-08T17:16:14-05:00 William Stanley Braithwaite 3 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-11-07T10:39:48-05:00 04/01/1916
1 2018-01-08T17:17:47-05:00 To Howard University 4 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-11-07T10:36:39-05:00 03/01/1917 38.9226843,-77.0216264
1 2018-01-08T17:18:30-05:00 Paul Laurence Dunbar 4 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-11-07T10:43:44-05:00
1 2018-01-08T17:19:19-05:00 Within the Veil 2 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-03-17T13:46:15-04:00
1 2018-01-08T17:19:56-05:00 A Dream of Democracy 2 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-03-17T13:46:29-04:00
1 2018-01-08T17:36:28-05:00 Peril 3 Poem by Carrie Williams Clifford (The Widening Light 1922) plain 2018-03-17T14:14:47-04:00
1 2018-01-08T17:38:36-05:00 Soul-Growth 2 Poem by Carrie Williams Clifford (The Widening Light 1922) plain 2018-03-17T14:15:01-04:00
1 2018-01-08T17:41:18-05:00 Negro Players on Broadway 4 Poem by Carrie Williams Clifford (The Widening Light 1922) plain 2018-11-07T10:44:45-05:00 04/01/1917 40.7503979,-73.988826
1 2018-01-08T17:46:14-05:00 The Goal 3 Poem by Carrie Williams Clifford (From The Widening Light 1922) plain 2018-03-17T14:16:41-04:00
1 2018-01-08T17:48:56-05:00 Race-Hate (Carrie Williams Clifford, 1922) 8 Poem by Carrie Williams Clifford (From The Widening Light 1922) plain 2020-01-15T09:54:03-05:00 07/28/1917 38.6106452,-90.1491438
1 2018-01-08T17:59:32-05:00 Silent Protest Parade 6 Poem by Carrie Williams Clifford (From The Widening Light 1922) plain 2018-11-07T10:45:54-05:00 07/29/1917 40.7744146,-73.9678064 38.6106452,-90.1491438
1 2018-03-17T14:30:18-04:00 Little Mother (Upon the Lynching of Mary Turner) 3 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-11-07T10:49:47-05:00 05/19/1918 30.8278902,-83.392176
1 2018-03-17T14:31:19-04:00 Deceived 1 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-03-17T14:31:19-04:00
1 2018-03-17T14:32:30-04:00 The Black Draftee From Dixie 1 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-03-17T14:32:30-04:00
1 2018-03-17T14:34:01-04:00 Tercentenary of the Landing of Slaves at Jamestown 1619-1919 3 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-11-07T10:52:09-05:00 08/02/1919
1 2018-03-17T14:36:17-04:00 Tomorrow 2 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-11-05T17:30:03-05:00
1 2018-03-17T17:22:16-04:00 Futility 1 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-03-17T17:22:16-04:00
1 2018-03-17T17:23:56-04:00 Our Women of the Canteen 2 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-10-20T13:00:41-04:00
1 2018-03-17T17:25:51-04:00 The Freedman 1 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-03-17T17:25:51-04:00
1 2018-03-18T11:47:24-04:00 An Easter Message 1 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-03-18T11:47:24-04:00
1 2018-03-18T11:49:47-04:00 Shrines 1 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-03-18T11:49:47-04:00
1 2018-03-18T11:51:02-04:00 Like You 2 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-05-30T14:58:32-04:00
1 2018-03-18T11:53:56-04:00 Three Sonnets 1 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-03-18T11:53:56-04:00
1 2018-03-18T11:56:18-04:00 Old Ironsides! 1 Poem by Carrie Williams Clifford. (From The Widening Light 1922) plain 2018-03-18T11:56:18-04:00
1 2018-05-24T13:50:37-04:00 The Flight 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T13:50:37-04:00
1 2018-05-24T13:52:43-04:00 Weeds 1 Poem by Carrie Williams Clifford (from The Widening Light 1922) plain 2018-05-24T13:52:43-04:00
1 2018-05-24T13:54:56-04:00 The Gift (Carrie Williams Clifford, 1922) 2 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2020-01-15T09:52:41-05:00
1 2018-05-24T13:56:32-04:00 Respite 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T13:56:32-04:00
1 2018-05-24T14:00:12-04:00 The Birth of a Nation 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:00:12-04:00
1 2018-05-24T14:06:42-04:00 Prayer for Deliverance 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:06:42-04:00
1 2018-05-24T14:08:21-04:00 Vanitas 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:08:21-04:00
1 2018-05-24T14:09:23-04:00 Moods 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:09:23-04:00
1 2018-05-24T14:19:47-04:00 To ------ 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:19:47-04:00
1 2018-05-24T14:26:53-04:00 Son 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:26:53-04:00
1 2018-05-24T14:27:27-04:00 Friendship 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:27:27-04:00
1 2018-05-24T14:29:19-04:00 Abandonment 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:29:19-04:00
1 2018-05-24T14:30:10-04:00 Tears 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:30:10-04:00
1 2018-05-24T14:30:50-04:00 Quest 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:30:50-04:00
1 2018-05-24T14:31:10-04:00 Loss 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:31:10-04:00
1 2018-05-24T14:32:28-04:00 Entreaty 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:32:28-04:00
1 2018-05-24T14:33:32-04:00 Together 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:33:32-04:00
1 2018-05-24T14:40:37-04:00 Sunday on Grasmere Lake 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:40:37-04:00
1 2018-05-24T14:41:27-04:00 Life and Death 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:41:27-04:00
1 2018-05-24T14:42:22-04:00 God 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:42:22-04:00
1 2018-05-24T14:46:01-04:00 Spring 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:46:01-04:00
1 2018-05-24T14:46:41-04:00 Poetry 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:46:41-04:00
1 2018-05-24T14:47:27-04:00 Ecstasy 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:47:27-04:00
1 2018-05-24T14:48:03-04:00 Compensation 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:48:03-04:00
1 2018-05-24T14:50:06-04:00 Egyptian Sphinx 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:50:06-04:00
1 2018-05-24T14:50:54-04:00 Beautiful Hands 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:50:54-04:00
1 2018-05-24T14:52:22-04:00 Lincoln 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:52:22-04:00
1 2018-05-24T14:54:13-04:00 Old Ocean and the Shore 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:54:13-04:00
1 2018-05-24T14:55:31-04:00 The New Year 1 Poem by Carrie Williams Clifford (from The Widening Light, 1922) plain 2018-05-24T14:55:31-04:00
1 2017-06-06T10:54:39-04:00 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1 Racism Amardeep Singh 2 Racism Tag vistag 2018-11-08T22:21:14-05:00 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1
1 2018-08-02T14:43:12-04:00 A Sonnet in Memory of John Brown (Georgia Douglas Johnson, August 1922) 5 Poem by Georgia Douglas Johnson, Published in The Crisis, August 1922 plain 2018-11-07T10:31:52-05:00 08/01/1922
1 2018-10-14T11:44:48-04:00 Uncle Rube to the Young People 4 Poem by Clara Ann Thompson (Songs From the Wayside, 1908) plain 2018-10-14T11:52:08-04:00
1 2017-06-06T11:32:05-04:00 Shall I Say, "My Son, You're Branded?" 4 Poem by Georgia Douglas Johnson. From "Bronze" plain 2019-07-24T09:46:08-04:00
1 2017-08-18T10:49:25-04:00 Atlanta's Shame 4 Poem by Carrie Williams Clifford (1911) plain 2018-11-07T10:04:19-05:00 09/22/1906 33.7676931,-84.4906437
1 2017-05-24T11:27:38-04:00 Sonnet to the Mantled (Georgia Douglas Johnson) 4 Poem by Georgia Douglas Johnson plain 2018-08-02T15:10:09-04:00
1 2017-06-22T14:11:54-04:00 America 4 Poem by Carrie Williams Clifford. From "Race Rhymes" (1911) plain 2018-05-26T07:17:12-04:00
1 2017-06-06T11:26:49-04:00 "One of the Least of These, My Little One" 3 Poem by Georgia Douglas Johnson. From "Bronze" plain 2019-07-24T09:44:01-04:00
1 2017-08-18T11:18:45-04:00 The Singer and the Song (To Paul Laurence Dunbar) 3 Poem by Carrie Williams Clifford (1911) plain 2018-11-07T10:05:14-05:00 02/09/1906
1 2017-08-18T14:03:29-04:00 Foraker and the Twenty-Fifth 3 Poem by Carrie Williams Clifford (1911) plain 2018-11-07T10:08:26-05:00 08/01/1906 26.0286158,-97.7392809
1 2017-08-18T11:25:46-04:00 Lines to Garrison 2 Poem by Carrie Williams Clifford (1911) plain 2018-05-26T08:01:57-04:00
1 2017-08-18T14:20:23-04:00 All Hail! Ye Colored Graduates 2 Poem by Carrie Williams Clifford (1911) plain 2018-05-26T08:03:34-04:00
1 2017-06-06T11:25:03-04:00 Black Woman 2 Poem by Georgia Douglas Johnson. From "Bronze" plain 2018-05-29T15:56:20-04:00
1 2017-06-06T11:16:20-04:00 The Octoroon 2 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T13:17:57-04:00
1 2017-06-06T10:45:51-04:00 Let Me Not Hate 2 Poem by Georgia Douglas Johnson. From "Bronze" plain 2018-06-01T10:18:35-04:00
1 2017-08-18T14:28:54-04:00 Marching to Conquest 2 Poem by Carrie Williams Clifford (1911) plain 2017-08-18T14:29:24-04:00
1 2017-08-18T15:15:49-04:00 My Baby (On Reading 'Souls of Black Folk.') 2 Poem by Carrie Williams Clifford (1911) plain 2017-08-18T15:19:01-04:00
1 2017-08-18T10:42:32-04:00 A Reply to Thomas Dixon 2 Poem by Carrie Williams Clifford (1911) plain 2018-05-26T07:32:35-04:00
1 2017-06-06T11:44:12-04:00 Hope 2 Poem by Georgia Douglas Johnson. From "Bronze" plain 2019-07-24T09:34:31-04:00
1 2017-08-18T11:06:26-04:00 The Jim Crow Car 2 Poem by Carrie Williams Clifford (1911) plain 2018-05-26T07:47:19-04:00
1 2017-06-06T11:58:29-04:00 Question 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:58:29-04:00
1 2017-06-06T11:18:48-04:00 Aliens 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:18:48-04:00
1 2017-06-06T11:59:37-04:00 Bondage 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:59:37-04:00
1 2017-06-06T11:21:41-04:00 The Mother 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:21:41-04:00
1 2017-06-06T12:31:07-04:00 Resolution 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T12:31:07-04:00
1 2017-06-06T11:23:39-04:00 Maternity 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:23:39-04:00
1 2017-06-06T11:32:53-04:00 My Boy 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:32:53-04:00
1 2017-08-18T11:14:27-04:00 Shall We Fight the Jim Crow Car? 1 Poem by Carrie Williams Clifford (1911) plain 2017-08-18T11:14:27-04:00
1 2017-06-06T11:34:10-04:00 Guardianship 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:34:10-04:00
1 2017-08-18T14:22:51-04:00 Duty's Call 1 Poem by Carrie Williams Clifford (1911) plain 2017-08-18T14:22:51-04:00
1 2017-06-06T10:50:01-04:00 Prejudice 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T10:50:01-04:00
1 2018-06-02T07:21:21-04:00 Uncle Rube's Defense 1 Poem by Clara Ann Thompson, Songs from the Wayside plain 2018-06-02T07:21:21-04:00
1 2017-06-06T11:45:26-04:00 Cosmopolite 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:45:26-04:00
1 2017-06-06T10:55:57-04:00 Laocoon 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T10:55:57-04:00
1 2017-06-06T11:50:15-04:00 Perspective 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:50:15-04:00
1 2017-08-18T15:21:53-04:00 Character or Color -- Which? 1 Poem by Carrie Williams Clifford (1911) plain 2017-08-18T15:21:53-04:00
1 2017-06-06T11:01:07-04:00 Moods 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:01:07-04:00
1 2018-08-02T20:06:40-04:00 Mrs. Johnson Objects (Clara Ann Thompson) 1 Poem by Clara Ann Thompson, "Songs From the Wayside" plain 2018-08-02T20:06:40-04:00
1 2017-06-06T11:52:49-04:00 We Face the Future 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:52:49-04:00
1 2017-08-18T15:40:31-04:00 The Dreamers 1 Poem by Carrie Williams Clifford (1911) plain 2017-08-18T15:40:31-04:00
1 2017-06-06T11:02:34-04:00 Hegira 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:02:34-04:00
1 2018-08-03T14:51:32-04:00 Uncle Rube on the Race Problem (Clara Ann Thompson) 1 Poem by Clara Ann Thompson, "Songs From the Wayside" (1908) plain 2018-08-03T14:51:32-04:00
1 2017-06-06T11:55:53-04:00 Homing Braves 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:55:53-04:00
1 2017-08-18T15:43:47-04:00 We'll Die for Liberty 1 Poem by Carrie Williams Clifford (1911) plain 2017-08-18T15:43:47-04:00
1 2017-06-06T11:14:14-04:00 The Passing of the Ex-Slave 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:14:14-04:00
1 2017-06-06T11:49:01-04:00 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1 Interracial Amardeep Singh 1 Interracial Tag plain 2017-06-06T11:49:01-04:00 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1
1 2017-06-06T11:49:29-04:00 Fusion 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:49:29-04:00
1 2018-05-24T14:00:06-04:00 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1 Passing Amardeep Singh 1 Passing Tag plain 2018-05-24T14:00:06-04:00 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1


Lin-Manuel Miranda is suffering from shingles and has been ''quarantined'' away from his baby son.
Lin-Manuel Miranda is suffering from shingles.
The 'Hamilton' star thought he was suffering from the ''worst migraine'' of his life, but after visiting a doctor, he's now ''quarantined'' away from his two-month-old son Francisco after learning he'd contracted the contagious virus.
He tweeted on Wednesday (04.04.18): ''Damn. I've got the worst migraine of my life right now.
The extensive checks Lin-Manuel experienced also caused him problems with his social media account.
The 'Mary Poppins Returns' actor eventually decided to take a break from Twitter to rest after being urged by a fan.
But though he was in isolation away from his young family and social media interraction, Lin-Manuel wasn't left without entertainment as actress Emmy Rossum offered to sing with him.


text:
Pop Music PNG Transparent Images
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Download top and best high-quality free Pop Music PNG Transparent Images backgrounds available in various sizes. To view the full PNG size resolution click on any of the below image thumbnail.
Submitted by Rojal on Aug 2, 2021
Pop is a popular music genre that emerged in its present form in the United States and the United Kingdom in the mid-1950s. Although the phrases popular music and pop music are sometimes used interchangeably, the former refers to all popular music, which encompasses a wide range of forms. Pop music comprised rock & roll and the youth-oriented forms it influenced during the 1950s and 1960s. Until the late 1960s, rock and pop were virtually synonymous, with pop being associated with music that was more commercial, transitory, and accessible.
Despite the fact that much of the music on record charts is classified as pop music, the genre is distinct from chart music. Repeated choruses and hooks, short to medium-length songs composed in a simple style (typically the verse-chorus structure), and easy-to-dance-to rhythms and tempos are all common identifying features. Pop music frequently incorporates elements from various genres, including rock, urban, dance, Latin, and country.
Pop music is defined by David Hatch and Stephen Millward as "a corpus of music distinct from popular, jazz, and folk musics." Pop music, according to Pete Seeger, is "professional music that incorporates both folk and fine arts music." Pop music, according to music scholar David Boyle, is any form of music that a person has been exposed to through the mass media. Most people believe that pop music consists just of singles charts and not of all chart songs.
Tunes from a range of genres, including classical, jazz, rock, and novelty songs, may be found in the music charts. Pop music is viewed as a distinct genre that exists and develops on its own. As a result, the word "pop music" may be used to designate a separate genre that is meant to appeal to everyone, and is typically described as "immediate singles-based music geared towards teens," as opposed to "album-based music for adults."
Pop music evolves in lockstep with the term's meaning. Popular music, according to music critic Bill Lamb, is "music that has been most in tune with the preferences and interests of the urban middle class since industrialisation in the 1800s." In 1926, the phrase "pop song" was used to describe a piece of music with "popular appeal."
Many events in the history of recording in the 1920s, according to Hatch and Millward, may be viewed as the genesis of the contemporary pop music business, especially in country, blues, and hillbilly music.
The word "pop music" "originated in Britain in the mid-1950s as a descriptor for rock and roll and the new young music forms that it spawned," according to The New Grove Dictionary of Music and Musicians' website. While pop's "earlier meaning meant concerts appealing to a wide audience since the late 1950s, however, pop has had the special meaning of non-classical mus, usually in the form of songs, performed by such artists as The Beatles, The Rolling Stones, ABBA, and others," according to the Oxford Dictionary of Music. "In the early 1960s, 'pop music' competed terminologically with beat music, while its coverage overlapped (and still does) with that of 'rock and roll' in the United States," according to Grove Music Online.
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Capusa senilis, the black-banded wedge-moth, is a moth of the family Geometridae. The species was first described by Francis Walker in 1857. It is found in the south-eastern quarter of Australia.

The larvae feed on Fabaceae, Myrtaceae and Pinaceae species.

References

Nacophorini


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#Data 77% of global consumers expect to see more personalised content
Reuters Content Connect series, a global online survey by the news agency explores the content preferences and attitudes towards branded content revealing some detailed content marketing statistics.
Sampling more than 752 Reuters users, the Reuters Content Connect was conducted between 15th February and 6th March, comprising over 41% Director+ positions and 39% with an income of over $100,000. The regions covered under the survey include Americas, EMEA and APAC.
Observations and information from the survey reflect that branded content continues to hold prominence in the eyes of marketers. Content Marketing itself is preferred by over 85% of CMOs.
The Reuters Content Connect survey reveals that 77% of global consumers expect to see more personalised content in the future. It shows that branded content campaigns are more effective if they include personalised elements, with 63% of consumers agreeing that personally relevant content improves how they feel about the brand associated with it.
Also Read: #Data MS Dhoni makes up for 50% of conversations around Chennai Super Kings
Trust is increasingly important in an era of fake news – 85% say they only share news stories from news brands they trust (up 15% on 2017) and 88% agree that a news brand is a mark of quality on a story.
You can read the findings of the entire survey below.
The survey was conducted by Synergy Research and Consulting and it highlights the importance of style and tone in branded content, finding specific content topics appeal to different personalities.
Hatch The Trailer: A movie marketing equivalent of a product launch through social media!
3 aspects that Jack Dorsey needs to focus on
Road to 2022: How can brands prepare for the Metaverse
#SocialThrowback 20 of the best Tech Influencers from 2017
YouTube reaches 80% of all Internet users across age-groups in India - YouTube FanFest
#Opinion Invasion of Privacy or data vulnerability? Let's call it plain stupidity
Agency Feature: Blackmilk Media
Farhan Akhtar flaunts his brand new Jeep Grand Cherokee on Instagram


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package cz.wake.lobby.gadgets.particles;

import cz.wake.craftcore.utils.effects.ParticleEffect;
import cz.wake.lobby.Main;
import cz.wake.lobby.settings.SettingsMenu;
import org.bukkit.Bukkit;
import org.bukkit.Location;
import org.bukkit.Material;
import org.bukkit.entity.Player;
import org.bukkit.scheduler.BukkitRunnable;
import org.bukkit.util.Vector;

import java.util.HashMap;

public class FrozenWalk {

    public static final HashMap<String, Integer> fw = new HashMap<String, Integer>();

    @SuppressWarnings("deprecation")
    public void activateFrozen(final Player p) {
        if (!fw.containsKey(p.getName())) {
            final int task20 = Bukkit.getScheduler().scheduleSyncRepeatingTask(Main.getInstance(), new BukkitRunnable() {
                public void run() {
                    if (fw.containsKey(p.getName())) {
                        Vector vectorLeft = getLeftVector(p.getLocation()).normalize().multiply(0.15);
                        Vector vectorRight = getRightVector(p.getLocation()).normalize().multiply(0.15);
                        Location locationLeft = p.getLocation().add(vectorLeft);
                        Location locationRight = p.getLocation().add(vectorRight);
                        locationLeft.setY(p.getLocation().getY());
                        locationRight.setY(p.getLocation().getY());

                        ParticleEffect.ITEM_CRACK.display(new ParticleEffect.ItemData(Material.SNOW, (byte) 0), 0, 0, 0, 0f, 0, locationLeft, SettingsMenu.particles);
                        ParticleEffect.ITEM_CRACK.display(new ParticleEffect.ItemData(Material.SNOW, (byte) 0), 0, 0, 0, 0f, 0, locationRight, SettingsMenu.particles);
                    }

                }
            }, 0L, 1L);
            fw.put(p.getName(), Integer.valueOf(task20));
        }
    }

    public static Vector getLeftVector(Location loc) {
        final float newX = (float) (loc.getX() + (1 * Math.cos(Math.toRadians(loc.getYaw() + 0))));
        final float newZ = (float) (loc.getZ() + (1 * Math.sin(Math.toRadians(loc.getYaw() + 0))));

        return new Vector(newX - loc.getX(), 0, newZ - loc.getZ());
    }

    public static Vector getRightVector(Location loc) {
        final float newX = (float) (loc.getX() + (-1 * Math.cos(Math.toRadians(loc.getYaw() + 0))));
        final float newZ = (float) (loc.getZ() + (-1 * Math.sin(Math.toRadians(loc.getYaw() + 0))));

        return new Vector(newX - loc.getX(), 0, newZ - loc.getZ());
    }

}

redpajama_set_name: RedPajamaGithub


Tory Remainers warn party is being infiltrated by 'purple Momentum' in a plot to deselect... Elderly man, 90, dies at a care home while two ambulances were blocked in by neighbours for more than three... Hidden below this seaside town is a fatberg the size of six double-decker buses but the... Justin Biebers Manager ruft bei Selenas Manager damals noch ihre Mutter an und fragt, ob die beiden gemeinsam an einem Musikprojekt arbeiten wollen.
Back in September 2013, Dylan blogged about his life away from the spotlight. As Tramp turns 50, revel in the antics of a nightspot where... Remote British market town will become one of the first places in the world to get super-fast 5G internet Knit wits? Girl, 14, rushed to hospital seconds away from death after GP wrongly diagnosed her brain abscess as a... How good is YOUR geography? Before they had headlined their own sitcom, the twins made it big as Adam Sandler's son in the 1999 comedy Big Daddy.
Sunbathers hit the beach and enjoy picnics in the park as... April 2012 — immer wieder werden Gerüchte um eine Verlobung der beiden laut Foto: Before they had headlined their own sitcom, the twins made it big as Adam Sandler's son in the 1999 comedy Big Daddy. Nach der Trennung postet Bieber immer wieder Pärchenfotos mit Selena, die die Gerüchte um ein Liebescomeback ordentlich anheizen. Cole and Dylan Sprouse graduated from New York University donning purple commencement gowns and grad caps with the rest of their 2015 class inside Yankee Stadium on Wednesday.
Ejiofor is blown away by a fabulous new star Time was on Chiwetel Ejiofor's side when he embarked on his directorial film debut The Greatest Dancer: Here, celebs and real life slimmers share their success stories... Polish nurse, 37, admits confusing two lung cancer patients who were both called Roger and injecting one... Mother is left mortified after her 12-year-old-daughter heard her 'talking dirty' to her husband while... We've had some bumps, but I'm so glad we went to Uni,' Cody wrote.
She's gone from being a Disney star to a sultry pop princess. A post shared by Lindsey Smith eatprayphoto on Nov 20, 2015 at 9: Mobile firms could be forced to switch users to rival networks... The siblings made it big as Adam Sandler's son in the 1999 comedy Big Daddy. Selena besucht Justin hin und wieder auf seiner Tour.
Calloway is spotted for the first time since sexual abuse allegations as his accusers reveal details of the alleged attacks Margot Robbie will NOT be returning as Harley Quinn in Suicide Squad sequel or Gotham City Sirens... Share or comment on this article: Laid-off worker, 45, fatally shoots five of his colleagues at the... No need to jet abroad for a spot of February sun!
Doch die Turtelei scheint Biebs schnell zu bereuen. Unlike those child actors before them, they expressed their gratitude for higher education. Society club where you undress to impress: No need to jet abroad for a spot of February sun! Selena wirkt sehr verliebt und endlich wieder glücklich. Dylan and Cole grew up in front of millions of viewers during their Disney heyday along with co-stars Ashley Tisdale and Brenda Song.
Rapper, 29, 'blamed Holby City star John Michie and his wife for their daughter's overdose death at Bestival... Ein Sommer voll mit verliebten Pärchenfotos. Nach der Trennung postet Bieber immer wieder Pärchenfotos mit Selena, die die Gerüchte um ein Liebescomeback ordentlich anheizen. From Suite Life to real life!


Saxton was ranked 903 in 2015 US male names list and elevated by 1.10% from its previous ranking of 913 in 2014.
Saxton is a rare first name for a boy in United States which is a rare name since 1976 and ranked 903 (0.000707% bearer) in 2015 in US. Only 452 people have Saxton as their first name. Saxton is not a native United States and Saxton may be came from another language or is a short form of some other name. 0.000126% of people in US have this given name.
Expression number of Saxton is 3.
Saxton are lively, imaginative, enthusiastic and optimistic. Saxton are expressive and inspire others wherever they go. Saxton possess great verbal skills which make them good comedian, artist or writer.
The boy name remained continuously rare and the baby name went as low as 5 in 1988 after first appearing in 1976 when 6 babies had Saxton as their first name. At peak, Saxton was given to 30 boys in 2017 after continuous rising. After it's 41 years long run and 2 instances of disappearance, Saxton is currently rising in the chart.
Get the meaning of Saxton and celebrities who also shares the same name and some names related to Saxton, english baby names list, list of names in english. Know what does Saxton mean? This website serves as the extended english names list which will help in naming your child.


text:
Aberdeen Standard selects Dublin as new EU hub
Aberdeen Standard Investments (ASI) has picked Dublin as the new hub for its investment and distribution activities in Europe.
The fund manager, which oversees more than €70bn for clients in Europe excluding UK, said that the new hub will oversee its investment management services in Europe and manage its offices across the continent. The move is subject to regulatory approval.
The firm's head of regional management for EMEA Victoria Brown will serve as managing director of the new hub. She will be supported by head of distribution for Ireland Jennifer Richards.
ASI head of EMEA Gary Marshall said: "The establishment of our investment and distribution business in Dublin is part of a global strategy of deepening our local footprint in the regions around the world in which we operate. It builds on the long-established and successful business that Standard Life Investments already had in the City, serving the needs of pension funds and other clients across Ireland.
"The Irish hub, which will contract directly with European clients and oversee our European branches, complements our Luxembourg hub which manages funds across Europe. These two businesses, working together and with our German business based in Frankfurt will ensure that we continue to meet the needs of our customers and clients across Europe, after the UK leaves the European Union."
Strategic Market Intelligence: Insurance Industry in Ireland ÔÇô Key Trends and Opportunities to 2022
Employee Benefits in Ireland, 2022 Update - Key Regulations, Statutory Public and Private Benefits, and Industry Analysis
Ireland Retail Banking 2020 - Review, Forecasts, and Future Opportunities
Retail (Onshore) Investments Scenario of Ireland: Investments Analytics to 2020
Reinsurance in Ireland, Key Trends and Opportunities to 2020


If your school has at least 50 % of its students receiving free and reduced meals, Nutrition Connections staff can come into your classroom to teach a series of lessons based on nutrition and fitness.
Teacher Enrichment Kits- Grades 3, 4, and 5- Nutrition Connections staff from your county teach the first and last lesson and you teach lessons 2-4. The kit contains the curriculum, hand-outs and props needed for each lesson.
If scheduling is an issue, there are many free evidence-based curricula that can be taught at your convenience. Please find links below.
Dig In Grades 5-6 - Explore a world of possibilities in the garden and on your plate using ten inquiry-based lessons that engage 5th and 6th graders in growing, harvesting, tasting, and learning about fruits and vegetables. More information is also available at Dig In! At Home Parent Booklet and Dig In! Posters.
Great Garden Detective Adventure Grades 3-4 Discover what fruits and vegetables are sweetest, crunchiest, and juiciest through a series of investigations and fun experiences connecting the school garden to the classroom, school cafeteria, and home. This eleven-lesson curriculum for 3rd and 4th grades includes bulletin board materials, veggie dice, fruit and vegetable flash cards, and ten issues of Garden Detective News for parents/caregivers.
Grow It Try It Like It Pre K –K- Nutrition Education Kit Featuring MyPlate is a garden-themed nutrition education kit for child care center staff that introduces children to: three fruits - peaches, strawberries, and cantaloupe, and three vegetables - spinach, sweet potatoes, and crookneck squash. The kit includes seven booklets featuring fruits and vegetables with fun activities through the imaginary garden at Tasty Acres Farm! It also has a CD-ROM with Supplemental Information and a DVD with Cool Puppy Pup's Picnic and Lunch Parties. Each set of lessons contains: hands-on activities, planting activities, and nutrition education activities that introduce MyPlate. Use the kit to promote learning at home with fun parent/child activities and family-sized recipes that give tips for cooking with children.
NH Harvest of the Month; grades 4 and 5 - Harvest of the Month (HOM) is a farm-to-school campaign that provides ready to go materials for the classroom, cafeteria, and community that promotes the use of local, seasonal foods.
Serving Up MyPlate–A Yummy Curriculum Level 1- Grades 1-2, Level 2 Grades 3-4 and Level 3 Grades 5-6 - This teacher's guide includes three lessons, a song CD, 35 MyPlate at Home handouts, and MyPlate poster included in set.
Discover MyPlate Grades K-1- This kit includes lesson booklet, poster, food cards, Food Group Friends Profile Cards, Emergent Reader: Teacher's Edition, song CD, and 25 copies of student workbooks, 25 parent handouts (English), 25 sets of student emergent readers, and 25 Look and Cook recipes.


text:
Zamárdi is een plaats (város) en gemeente in het Hongaarse comitaat Somogy. Zamárdi telt 2298 inwoners (2001).

Zamárdi is ook al enkele jaar de thuishaven van het "Balaton Sound Festival".

Stad in Hongarije


text:
Home » Crypto Policy Project
Crypto Policy Project
Dan Boneh
Dan Boneh is a Professor of Computer Science and Electrical Engineering at Stanford University and the Co-Director of the Stanford Computer Security Lab. Read more about Dan Boneh
Joseph Bonneau
Joseph Bonneau is a postdoctoral researcher at the Applied Crypto Group at Stanford University and a Technology Fellow at the Electronic Frontier Foundation, supported by a SUFP Fellowship from the Open Technology Fund and Simply Secure. Read more about Joseph Bonneau
Henry Corrigan-Gibbs
Henry Corrigan-Gibbs is a third-year PhD student in computer science at Stanford advised by Dan Boneh. Read more about Henry Corrigan-Gibbs
Non-Residential Fellow
Read more about Jennifer Granick
Jennifer Granick fights for civil liberties in an age of massive surveillance and powerful digital technology. As the new surveillance and cybersecurity counsel with the ACLU's Speech, Privacy and Technology Project, she litigates, speaks, and writes about privacy, security, technology, and constitutional rights.